On February 2, 2019, fifteen Mayer Middle School 7th and 8th graders participated in the Northern District Power of the Pen Tournament at Columbia Middle School. Twenty-one schools participated in the tournament, with 100 students writing in the 7th grade and 112 students writing in the 8th grade. The Writing Warriors were very successful at the tournament.
The 7th grade team placed 6th place out of the 21 schools. Nola F. (#17) and Maggie R. (#18) placed in the top 20 of the 7th grade division. Ella J. and Addison L. will be joining Nola and Maggie as Regional qualifiers. Ashley S. and Jenna S. also wrote highly scored stories to help the 7th grade team.
The 8th grade team also had an phenomenal showing at the district tournament. All started by Kelli W. being recognized in front of the packed gym for her 7th place finish and she will advance to the Regional Tournament. June P., Olivia H., and Nina J. also qualified for the Regional Tournament. Eva K. and Allison K. had a very strong showing and wrote some very inspirational stories.
The writing team will be in action again February 23rd when they travel to Shaker Heights Middle School for the PenOhio District Tournament.
The Power of the Pen Northern Region Tournament will take place on Saturday, April 6, at Villa Angela St. Joseph High School at 18491 Lakeshore Blvd, Cleveland, OH 44119. The regional tournament runs on a similar schedule as the district tournament.


The Golden Fury Water Bottle from S'well, from their Patina Collection, features textures and colours that reflect natural metals as they age with age. Crafted from triple-walled, vacuum insulated high-grade 18/8 stainless steel, it will keep drinks hot for 12 hours and cold for 24 hours. Developed with innovative ThermaS'well technology, the reusable bottle boasts a copper layer that ensures a condensation-free exterior that will not drip, leak or sweat on hands or in a bag.
The eco-friendly bottle has a silver, leak-free, screw-top cap and S'well branding and a mouth large enough for ice cubes. It is the perfect accessory to help you to stay hydrated all day long, at work, at home or on holiday while reducing your use of disposable plastic bottles.
Dimensions: H: 30cm x Ø: 8cm. Capacity: 750ml/25oz. Weight: 453g.


text:
"""Utilities for tests that are in the "burntsushi" format."""

import datetime
from typing import Any

# Aliases for converting TOML compliance format [1] to BurntSushi format [2]
# [1] https://github.com/toml-lang/compliance/blob/db7c3211fda30ff9ddb10292f4aeda7e2e10abc4/docs/json-encoding.md  # noqa: E501
# [2] https://github.com/BurntSushi/toml-test/blob/4634fdf3a6ecd6aaea5f4cdcd98b2733c2694993/README.md  # noqa: E501
_aliases = {
    "boolean": "bool",
    "offset datetime": "datetime",
    "local datetime": "datetime-local",
    "local date": "date-local",
    "local time": "time-local",
}

def convert(obj):  # noqa: C901
    if isinstance(obj, str):
        return {"type": "string", "value": obj}
    elif isinstance(obj, bool):
        return {"type": "bool", "value": str(obj).lower()}
    elif isinstance(obj, int):
        return {"type": "integer", "value": str(obj)}
    elif isinstance(obj, float):
        return {"type": "float", "value": _normalize_float_str(str(obj))}
    elif isinstance(obj, datetime.datetime):
        val = _normalize_datetime_str(obj.isoformat())
        if obj.tzinfo:
            return {"type": "datetime", "value": val}
        return {"type": "datetime-local", "value": val}
    elif isinstance(obj, datetime.time):
        return {
            "type": "time-local",
            "value": _normalize_localtime_str(str(obj)),
        }
    elif isinstance(obj, datetime.date):
        return {
            "type": "date-local",
            "value": str(obj),
        }
    elif isinstance(obj, list):
        return [convert(i) for i in obj]
    elif isinstance(obj, dict):
        return {k: convert(v) for k, v in obj.items()}
    raise Exception("unsupported type")

def normalize(obj: Any) -> Any:
    """Normalize test objects.

    This normalizes primitive values (e.g. floats), and also converts from
    TOML compliance format [1] to BurntSushi format [2].

    [1] https://github.com/toml-lang/compliance/blob/db7c3211fda30ff9ddb10292f4aeda7e2e10abc4/docs/json-encoding.md  # noqa: E501
    [2] https://github.com/BurntSushi/toml-test/blob/4634fdf3a6ecd6aaea5f4cdcd98b2733c2694993/README.md  # noqa: E501
    """
    if isinstance(obj, list):
        return [normalize(item) for item in obj]
    if isinstance(obj, dict):
        if "type" in obj and "value" in obj:
            type_ = obj["type"]
            norm_type = _aliases.get(type_, type_)
            value = obj["value"]
            if norm_type == "float":
                norm_value = _normalize_float_str(value)
            elif norm_type in {"datetime", "datetime-local"}:
                norm_value = _normalize_datetime_str(value)
            elif norm_type == "time-local":
                norm_value = _normalize_localtime_str(value)
            else:
                norm_value = value

            if norm_type == "array":
                return [normalize(item) for item in value]
            return {"type": norm_type, "value": norm_value}
        return {k: normalize(v) for k, v in obj.items()}
    raise AssertionError("Burntsushi fixtures should be dicts/lists only")

def _normalize_datetime_str(dt_str: str) -> str:
    if dt_str[-1].lower() == "z":
        dt_str = dt_str[:-1] + "+00:00"

    date = dt_str[:10]
    rest = dt_str[11:]

    if "+" in rest:
        sign = "+"
    elif "-" in rest:
        sign = "-"
    else:
        sign = ""

    if sign:
        time, _, offset = rest.partition(sign)
    else:
        time = rest
        offset = ""

    time = time.rstrip("0") if "." in time else time
    return date + "T" + time + sign + offset

def _normalize_localtime_str(lt_str: str) -> str:
    return lt_str.rstrip("0") if "." in lt_str else lt_str

def _normalize_float_str(float_str: str) -> str:
    as_float = float(float_str)

    # Normalize "-0.0" and "+0.0"
    if as_float == 0:
        return "0"

    return str(as_float)

redpajama_set_name: RedPajamaGithub


text:
"Fairytale"  je pjesma nastala 2009. Napisao ju je i skladao norveško-bjeloruski pjevač Alexander Rybak, i to je prva pjesma s njegova debitantskog albuma Fairytales. Pjesma je predstavljala Norvešku na Eurosongu 2009. koji se održao u Moskvi.

Eurosong 2009.
Pjesma je izabrana za predstavljanje na Eurosongu na norveškom festivalu Melodi Grand Prix 2009. koji se održao 21. veljače.  Izvedena je u trećoj polufinalnoj večeri i plasirala se u finale. U finalu je Norveška pobijedila osvojivši 387 bodova, što je bio novi rekord Eurosonga. To je ujedno i treća pobjeda Norveške na Eurosongu. Plesači iz plesne skupine Frikar, Sigbjørn Rua, Torkjell Lunde Børsheim i Hallgrim Hansegård su plesali tradicionalni norveški ples halling. Prateći vokali su bile Jorunn Hauge i Karianne Kjærnes.

Eurovizijske pjesme
Norveška glazba

redpajama_set_name: RedPajamaWikipedia


Our wiener dog key chain with a wrist wrap is perfect for walkies so your hands are free to play with your pup or pick up poo.
If you love pink and dachshunds then you've hit the jackpot with our store! We've got a wide mix of pink wiener dog pillows, fuchsia doxie shirts and even a whole line of pink sausage dog-themed nursery items.


text:
HabitatX
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A Proposal for Expanded International Collaboration
We live in the most extraordinary of times, with unprecedented access to ideas, stuff, and people. This new flood of resources, as I see it, springs from a convergence of several factors: new communication tools, widespread wealth, and a mixing of social strata, among others. And though we could discuss this opening on several levels, this article addresses the sharing of information on the business and technology of high performance construction as it's being developed on both sides of the Atlantic.
The 2014 International Energy Efficiency Scorecard, produced by the American Council for an Energy-Efficient Economy (ACEEE), rates the overall efficiency practices of 16 of the world's largest economies in each of four categories: National Efforts, Industry, Transportation, and Buildings. When it comes to buildings, North Americans could learn a few things from their international counterparts. Look at the chart: out of a possible total score of 25 for buildings, the U.S. receives a score of only 13, with Canada scarcely higher at 15. It's a disappointing showing for two countries that have often been known for innovation in building science and practical application.
The good news is that the achievements needed to meet the benchmarks set by ACEEE are completely achievable. In ACEEE's words: "The conditions required for a perfect score are currently achievable and in practice somewhere on the globe. For every metric, at least one country (and often several) received full points."
I think that everyone involved with the construction industry in both Europe and North America would benefit from better communication among the parallel channels of commerce, technology, and science. We rarely need to reinvent the wheel these days, and during those few points in history when we DO need to invent something, the process goes a lot faster if we have the help of knowledgeable collaborators everywhere.
We can all benefit from the sharing of knowledge across the construction industries and among countries. Like sending our children away on a foreign exchange program, our ideas are often much richer when they return home. What do we gain from this type of exchange?
We save money, in both industry and government, by avoiding duplicate research and development.
We gain access to a bigger pool of human resources by working alongside professionals everywhere.
We meet targets for energy efficiency, emission reductions, or other metrics more quickly when we share and implement the very best practices as they are developed in all markets.
We solve problems within our own organizations by expanding our knowledge base to include others who are addressing the same issues.
International cooperation is not a new concept. But the difference, at this point in history, is that we now have the means and motivation to build new powerful collaborations among individuals and small organizations, giving us the potential to bypass the big slow-moving entities that have usually been our international emissaries. There are plenty of examples when this has happened in the past, and several areas where it's about to happen in big ways in the housing industry. All we're haggling over at this stage is who will have the foresight to support and benefit from these shifts.
Historical Examples
History tells us that we often develop technologies in North America and Europe on parallel but separate paths. In most cases, someone eventually looks at the work performed by their international colleagues and decides that it's worth sharing, borrowing, or stealing. We have plenty of examples of this cross-pollination among separate-but-related technical camps. Witness these relevant examples.
The early development of the electrical grid involved a melting pot of scientists and experimenters from around the world. One of the most influential of these may have been Nicolas Tesla (1856-1943), the Serbian electrical engineer who in the course of his storied career shopped his skills around Europe and then North America in search of collaborators and funders. He first gained the support of Thomas Edison and his ill-fated DC distribution scheme. He ultimately teamed with George Westinghouse, and when his alternating current system was established in North America, it was indelibly imprinted by Tesla's work.
When aerospace engineers in the United States began the process of creating a space program after the Second World War, they knew they had a knowledge gap. It was a poorly kept secret that German engineers had gone farther in their research on rocketry than any other country's program. So the U.S. government set about identifying these best rocket scientists, bringing them to the United States, and embedding them in research institutions. Though these programs were shaded by the politics of cold war, these brilliant scientists nonetheless performed the core research and development that made it possible for humans to visit the moon only twenty years later.
The simple idea of improving upon the minimum building codes — by installing high levels of insulation, addressing thermal bridging, managing ventilation, and installing micro-HVAC systems — was first put into practice by visionaries in the Canadian R2000 Program during the 1970s. German experimenters subsequently picked up the nascent North American concept, perfected it as if the their lives depended upon it, and promulgated the standard under the banner of Passivhaus. When the improved package was brought back to North America decades later, and adapted under the banner of Passive House Institute US, the housing industry on both continents gained huge amounts of knowledge from the collaboration.
Current Hotspots
The current housing industry is now ripe for widespread international collaboration. I think that individuals and organizations that learn how to identify and leverage specific market blind-spots will gain advantages over their stay-at-home competitors. Though it may seem daunting to embark upon the industry-shifting initiatives outlined here, there are immediate and simple opportunities embedded within each broad topic that can be implemented right away by any forward-looking individual.
It's been almost a generation now since we started assembling web-based knowledge management systems in government, schools, and industry. Yet, much to the detriment of the housing industry, many well-meaning organizations still tend to shelter a lot of their knowledge within their proprietary silos. In some cases, these creators of knowledge have attempted to share their resources with others, but oftentimes the average user cannot wade through the flood of randomly dispersed information to find the knowledge they need.
Though there may have been a day when privatization of knowledge had its benefits, or when simply "posting it to the internet" meant that knowledge had been effectively shared, that time is clearly past. What we now need is organizations who can identify, organize, and share knowledge in ways that are transparent and widely accessible to users of all skill levels. We have already seen the huge value that's added to organizations in other sectors when information is aggregated and shared across borders and throughout organizations. But no has come close to doing so in the housing industry.
"I think there is a huge opportunity waiting for organizations who learn how to super-charge the management of technical knowledge, translate it to the most common languages, and share it with researchers, managers, and on-the-ground practitioners everywhere."
Portability of Credentials
The professionals who work in the housing industry will always need ongoing training to stay abreast of evolving methods, materials, tools, and standards. Their employers and collaborators will always look to credentialing organizations to qualify members of the workforce. Yet the market today is littered with an excess of conflicting and overlapping credentials, creating doubt for everyone about the value and practicality of credentialing. This also makes it difficult for individuals and organizations to work across borders.The high-performance construction industry needs a standardized set of international professional credentials that are general in scope and universal in application, so that every government, company, and individual can understand, support, and apply them.
"The housing industry will be one step closer to maturity when an organization, or a consortium of organizations, promulgates a set of professional credentials that are aligned with accepted best practices, and are recognized in both Europe and North America."
Standardization of Best Practices
The design, construction, and maintenance of buildings is subject to the same rules of science and physics everywhere. Yet our attempts to describe those practices—our codes, standards, and regulations—are complicated, contradictory, and sometimes just plain wrong. It will never be a simple thing to harmonize building practices, since we'll always need to account for regional variations in climate, soils, materials, fuels, and traditions. But the current hodgepodge of best practices creates barriers to innovation and improvement that have sometimes crippled the advancement of high-performance construction.
The housing industry is ready for a comprehensive set of prescriptive standards that are coupled with a realistic protocols for performance testing. We already have several examples of at-least-partial best practices in existence in North America and Europe. They give us a good place to start, though they'll need to be expanded, aligned, and, ultimately, harmonized with the building codes.
"We now have the means to assemble a nimble and realistic collaboration — with individuals from every region — that gathers all of our best practices into a comprehensive and accessible system. It'll happen when the most forward-looking individuals and organizations see what's possible, gather the best minds from everywhere to do the work, and build a smart collaborative platform to capture the best knowledge."
How to Build Your Own Professional Bridges
Each of these challenges will require the involvement of committed individuals who understand the power of modern collaborative tools. I offer here some ideas to help you expand your ability to work with others:
Include the rest of the world in your research
You'll be surprised how much you learn if you expand the geographical reach of your inquiries. It's easy if you're working on the web. Whether you're studying the effects of pollutants on human health in the U.S., searching for that perfect German detail for an air barrier, or looking for statistics on home energy consumption in France, you'll benefit from the exposure to other methods, materials, and programs. You'd be surprised how many people around the planet face the same opportunities and issues that you do.
Develop new professional relationships
It's become ridiculously easy to connect to colleagues all over the world. A good way to do so is through LinkedIn groups, Google Plus communities, or other social media. Start by identifying a group that addresses an area in which you're interested, do some research into the topic, make a few posts, share some photos, and ask questions of international professionals who share your interests. Wherever you live, I can assure you that people will be thrilled that you've reached out to them. And if you are so lucky as to travel internationally, it's a bonus to arrive in a country where you have professional connections.
Don't worry about the language barrier
Don't let your lack of a second language stop you from connecting with others. International communication has become easier than ever as English ascends to become the language of commerce. But if you are studying a second language, it's a great idea to keep at it. Try, for example, scheduling a free web-based language exchange with an allied professional on a website such as Verbling, where you can engage in a no-obligation language practice with other learners. It's a bonus if you connect with allied professions in a far-off place during these exchanges, and you'll gain a greater grasp of your own skills when you need to explain them in a second language!
We're all part of the new globalization, whether we actively choose to participate or not. I view this flow of ideas, materials, and people as simply another stream of raw materials to be utilized to great advantage for everyone.
For each of us, it'll take some time to learn how to work with these global resources, to sort the wheat from the chaff, and to integrate the new knowledge into our organizations.
But the opportunity is huge, and the future will include big options for those who learn how to reach out, connect with allied professionals in smart and responsive ways, and manage this new flood of knowledge.
— Chris Dorsi
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redpajama_set_name: RedPajamaCommonCrawl


text:
Coffee Origins: Peru
Coffee was brought to Peru for the first time between 1740 and 1760 when the Viceroyalty of Peru encompassed a bigger area than it does today. Despite the fact that the environment was ideal for large-scale coffee cultivation, the first hundred years or so of coffee production were consumed locally. The first coffee exports to Germany and England were not until 1887.
The Peruvian government defaulted on a loan from the British government in the 1900s, and as repayment, they were given two million hectares (five million acres) of land in Central Peru. One-quarter of the area was converted to plantations, which grew a variety of products, including coffee. Migrant workers from the Highlands were brought in to work on these farms, and some of them eventually became landowners. Others would subsequently leave Peru and purchase land from the British.
Unfortunately for the coffee industry, Juan Velasco's government brought in-laws in the 1970s that would cripple growth. The International Coffee Agreement had guaranteed sales and prices, so there had been little incentive to create proper infrastructure. When state support was withdrawn, the coffee industry sunk into disarray. The quality of the coffee and Peru's market position further suffered at the hands of the communist party, The Shining Path, whose guerrilla activity destroyed crops and drove farmers from their land.
The vacuum left in Peru's coffee industry has recently been filled by non-government organizations such as Fair Trade, and now a large quantity of coffee from Peru is FT certified. More and more land is also being devoted to coffee: in 1980 there were 62,000 hectares (154,000 acres), today there are 95,00 hectares (235,000 acres). Peru is now one of the largest producers of coffee in the world.
covid, office, cultural, history, data, français
The vacuum left in Peru's coffee industry has recently been filled by non-government organizations such as Fair Trade, and now a large
The infrastructure within Peru still stands in the way of the country producing extremely high-quality lots. Few mills are situated close to farms, which means that the coffee is often traveling longer than is desirable after harvest before processing starts. Some coffees end up being bought and blended with other coffees, then resold en route to the coast for export. Interestingly, around one-quarter of the hundred thousand small producers in the country are now members of cooperatives, although it is important to remember that Fair Trade certification can only apply to coffee produced by a cooperative. There is also a strong culture of organic production in Peru, though this rarely yields higher cup quality. In fact, the organic coffees produced in Peru are often so cheap that they end up bringing down prices paid to other farmers, regardless of them producing higher-quality coffee.
Perhaps because of this, and also because of the widespread cultivation of the Typica variety, leaf rust is increasingly a problem for Peruvian producers. While the 2013 crop was good, there have been severe outbreaks of leaf rust, which may well reduce overall production in the near future.
TRACEABILITY (UK)
TASTE PROFILE (travel)
The Peru State College Dining Hall is organized around destinations, or action station sections, that encourage fun and excitement during meals. Fresh Ideas brings the action of a kitchen to our guests, rather than having all of the food preparation take place behind closed doors in a rear kitchen.
This all-you-can-eat restaurant has a wide range of menu options. Food is made with the finest ingredients and cooked specifically for you. Traditional home-style entrées are available at the Chef's Table. Classics like burgers and chicken are prepared to order at the Grill. Artisan-style pizza, calzones, and pasta are available at Trattoria. Salad Station, as well as a variety of homemade sweets and beverages, are available.
The best coffees should be traceable down to a producer group or down to a single estate.
Typically Peruvian coffees have been clean, but a little soft and at. They are sweet and relatively heavy-bodied but not very complex. Increasingly there are distinctive and juicier coffees becoming available.
Population: 31,152,000
Number of 60kg (132lb) bags in 2016: 3,800,000
Some coffee is grown outside of the main regions listed below, but not in the same quantities and without the same level of recognition. Some might argue that Peru is well placed to deal with the increased temperatures that may come with climate change, as it has plenty of land at higher altitudes that may become suitable for growing coffee in the future.
Cajamarca is a state in the north of the country named for its capital city and covers the northern end of the Peruvian Andes. The region benefits from an equatorial climate and soils suitable for coffee. Most producers in the region are smallholders, although they are often well organized and belong to producers' organizations, which supply technical help, training, loans, community development, and other support. One of these organizations in the region, CENFROCAFE, works with 1,900 families to promote coffee roasting and runs a local café to help the farmers diversify.
Altitude: 900–2,050m (3,000–6,750ft)
Harvest: March–September
Varieties: Bourbon, Typica, Caturra, Pache, Mondo Novo, Catuai, Catimor
This region produces 20–25 percent of Peru's coffee and here the coffee grows in amongst the rainforest. The area did suffer in the 1980s and 1990s as a result of guerrilla activity, and the neglect of the trees during this period allowed plant diseases to spread. The coffee industry had to be restarted from almost nothing in the late 1990s.
Altitude: 1,400–1,900m (4,600–6,200ft)
Cusco is a region in the south of the country where coffee, in some ways, is the legal alternative to the other popular crop in this area: coca. Most of the coffee is grown by smallholders, rather than larger estates. The area thrives on tourism, and many visitors travel through the city of Cusco on their way to see Machu Picchu.
This region is on the eastern side of the Andes, and many farmers produce coffee on plots 5–10 hectares (10–24 acres) in size. In the past, this was the main area of coca production in Peru, although cooperatives in the region now promote the idea of diversification by growing other crops alongside coffee, such as cacao and honey. In recent years the level of poverty in the region has dropped dramatically, from 70 percent down to 31 percent of the population.
find, republic, safety, Canada, risk, requirements, personal, destination, major, security, general
Peru's limited infrastructure stands in the way of the country producing coffee of outstanding quality. The delivery and processing of fresh harvests are often delayed and few mills are located near plantations.
Keywords: united states government, visa appointment service, Peruvians resident foreigners, world bank support, hemisphere affairs bureau, travel state gov, state deputy secretary, world bank group
Macchiato – Concoction From Espresso
United States: Hawaii


text:
Peter Grill and the Philosopher's Time get's an anime adaptation. But, is it safe?
Peter Grill and the Philosopher's Time (known as Peter Grill to Kenja no Jikan in Japan), an ecchi harem comedy fantasy manga by Daisuke Hiyama about a warrior whose combat prowess makes him too attractive for his own good, is being adapted into a TV anime.
The story of Peter Grill and the Philospher's Time follows a warrior named Peter Grill who establishes himself as the strongest fighter in the world by winning a prestigious martial arts tournament. Although happy with his newfound fame, Peter just wants to settle down and to get to know his betrothed better, but his hopes for domestic bliss are dashed when he discovers that dozens of demihumans (from elves to ogres) now desire to mate with him in order to produce powerful offspring.
The adaptation was announced in the November 2019 issue of Futabasha's Monthly Action seinen manga magazine, which was published in Japan on September 25, 2019. So far, no further details about the production (such as the cast, the staff, and the release date) have yet been revealed.
Original manga author Daisuke Hiyama took to Twitter with a celebratory image, and also wondered if it would be "safe" to broadcast the series on Japanese TV
Tags anime adaptation Daisuke Hiyama Futabasha's Monthly Action seinen manga magazine Japanese TV manga Peter Grill and the Philosopher's Time Peter Grill to Kenja no Jikan TV
Gen Urobuchi's OBSOLETE will stream on Youtube
Megalobox returns for the true fans
Netflix's Ghost in The Shell SAC_2045 Full Trailer
First 7 Minutes of HUMAN LOST Anime Film
Unleash the Power of Rock in ON-GAKU: Our Sound Trailer
Thus Spoke Kishibe Rohan OVA
Capcom Confirms Live-Action Mega Man Movie
Mushoku Tensei: Jobless Reincarnation Trailer


35% of Colombian territory is in the Amazon basin (known to the Colombians as 'Amazonia'). Leticia is the state capital and gateway for connections to Brazil and Peru. Nearby are several jungle lodges. Sadly Orinoquia is off-limits for the moment to international tourists, the headwaters of the various tributaries of the Orinoco cross vast plains, or Llanos, covering 20% of the country. Serrania de la Macarena in the south-west of the region has a particularly wide biodiversity due to its range of habitats.


Espresso Entryway Shelf – Prepac EEC-4816 Keep your gloves, hats, coats and jackets together where you need them with the Entryway Cubbie Shelf. Perfect for any front hallway, mudroom or home office, it?s three compartments have room for everything from mittens to schoolbooks. Four large hooks provide sturdy storage for your outerwear, scarves and tote bags. Install it easily with our innovative hanging rail system and get the versatile entryway piece you?ve been missing. EEC-4816 Features: Finished in durable rich espresso laminate Easy to install two-piece hanging rail system included Constructed from CARB-compliant, laminated composite woods Ships Ready to Assemble, includes an instruction booklet for easy assembly and has a 5-year manufacturer?s limited warranty on parts Assembled Dimensions: 48″W x 16.5″H x 11.5″D Internal Dimensions: 14.25″W x 8.75″H x 10″D (each cubbie) Proudly manufactured in Canada Weight Capacity: 50 lbs Assembly Required.
Espresso Wall Mounted Desk Hutch – Prepac EHD-1348 Add storage space right where you need it with the Wall Mounted Desk Hutch. With its unique design and our innovative two-piece hanging rail system, this hutch has ample space for workspace necessities that just don?t fit in your desk. Adjust the four shelves to accommodate books, binders, disks or even decorative items. This piece is a simple way to double your desk?s storage without taking up valuable floor space. EHD-1348 Features: Finished in durable rich espresso laminate Easy to install two-piece hanging rail system included Constructed from CARB-compliant, laminated composite woods Ships Ready to Assemble, includes an instruction booklet for easy assembly and has a 5-year manufacturer?s limited warranty on parts Assembled Dimensions: 48″W x 13″H x 11.5″D Internal Dimensions: 9.75″W x 12.25″H x 9.75″D (each cubbie) Proudly manufactured in Canada Weight Capacity: 15 lbs per section = 60lbs Assembly Required.


text:
Patokh Chodiev: Interesting Charity Projects of a Businessman
Patokh Chodiev is known worldwide for his successful business projects. He is one of the main shareholders of the Eurasian Group, JSC Eurasian Bank, and other large companies. Chodiev devotes a lot of his time to charity work. More than 20 years ago, he opened his own fund, heading which he managed to do a lot for Kazakhstan, Uzbekistan, Russia, Japan. About charitable projects of a Kazakhstan businessman – in our material.
Patokh Chodiev is one of the few Kazakhstani businessmen who takes charity activities as seriously as his profitable business projects. In 1996, Chodiev created the Chodiev Charitable Foundation. For 24 years, this fund has grown from a small organization into a huge community of like-minded people who carry out important missions not only for Kazakhstan but also for other countries. Top projects of Patokh Chodiev: rescue of Japanese kimonos Itiku Kubota, organization of performances of the Kabuki theater in Kazakhstan, Uzbekistan, and Russia, assistance to the Syr Darya region, support for projects of the Moscow State Institute of International Relations, assistance to children's hospices in Russia, says Spektr news.
"Charity must be dealt with from the heart or not at all. The Foundation's task is to instill a culture of charity to the young generation, to promote it already from the first year of study at MGIMO," said Fattah Chodiev.
Rescue of the Japanese Kimono Ichiku Kubota
Nine years ago, a Kazakh businessman saved kimonos, which together represent one composition created by the author Itiku Kubotu. The works were put up for sale due to the fact that the museum named after the outstanding master Itiku Kubotu was on the verge of bankruptcy. Patokh Chodiev bought a kimono for several million dollars, and then helped the museum out of the crisis period.
"The Japanese people took part in my spiritual education. In response, I consider it my duty to support Japan. I saved a kimono collection for the country itself. This is the cultural value of Japan. And it should belong only to this people," said Fattah Chodiev, the founder of the charity foundation.
Organization of performances of the famous Japanese theater
Patokh Chodiev has been investing for many years in organizing and conducting performances of the Kabuki Theater in Russia, Kazakhstan, and Uzbekistan. Thus, the businessman wants to instill in the inhabitants of these countries love and respect for the long-standing traditions of the famous Japanese theater.
Assistance to the Syrdarya region
The childhood of a Kazakhstan businessman passed in Uzbekistan, so he speaks very nice about this country. Fattah Chodiev has devoted the past few years to developing the infrastructure of the Syrdarya region. The sufficient funds were involved in the construction of roads. Also in 2019, the businessman invested a large sum in the purchase of ambulances.
Support for MGIMO projects
Thanks to the university, Patokh Chodiev was able to achieve everything that he had dreamed about since childhood. The invaluable knowledge gained at MGIMO paved the way for him to a brighter future. The billionaire has been helping his beloved university since the founding of the Chodiev Foundation. In addition, he is a member of the Board of Trustees of MGIMO.
The fund's official Facebook page indicates that on February 19, 2020, the Chodiev Foundation sent funds to implement a scholarship ceremony. On behalf of the founder of the fund during the ceremony, the director of the representative office in Russia Olga Monakhova held the speech. She congratulated the best students of MGIMO in 2019 and handed them memorable diplomas.
Help for children's hospices in Russia
The Chodiev International Foundation also helps children's hospices. The last charity project was dedicated to fulfilling the wishes of children from the children's hospice in St. Petersburg. It is also worth noting that the Chodiev Foundation in Russia is one of the non-profit organizations helping the children's hospice in Pavlovsk.
Jiomeet, Competition or Just a Zoom Clone
Nickel Advisors Discusses How You Can Attain Financial Stability During A Recession


Kanatal is a beautiful Hill Station in India, and it has so much to offer.
There is an Airport named "Jolly Grant Airport" situated at Dehradoon. It is the nearest Airport to Kanatal, situated 92kms from it. Taxi and Cab service is easily available from Jolly Grant Airport to Kanatal. Jolly Grant Airport is well connected to Delhi with daily flights. The distance from Jolly Grant Airport to Kanatal can be easily covered within 3 hours of time.
If you are planning your journey from New Delhi, you could easily get buses from ISBT Kashmiri Gate. Kanatal is well connected with roads. Volvo buses, AC buses and normal buses are daily available for service from nearby locations as well.
Kanatal is well connected with roads as well with many well known towns of Uttarakhand states. Kanatal is placed on the Mussoorie-Chamba road. Luxury and Coach Buses are availed from ISBT Kashmir Gate to Chamba, Kanatal and Rishikesh. Buses are also available to Kanatal from Rishikesh, Haridwar, Dehradun, Mussoorie, Tehri and Chamba.
Surkanda Devi Temple- Surkanda Devi is a Hindu temple.
Kodia Jungle- Kodia Jungle is a very popular Picnic spot in Kanatal Hill Station in Tehri District of Uttarakhand.
New Tehri- Kanatal is a small village in the state of Uttarakhand, India.
Chamba- Chamba is one of the major tourist attractions.
Mussoorie- Mussoorie is a hill station and a municipal board in the Dehradun.
Dhanaulti- Dhanaulti is a hill station 24 km (15 mi) from the popular hill station of Mussoorie, and 31 km (19 mi) from Chamba.
Dhanaulti Eco Park- It is the main attraction of Dhanaulti. There are two Eco-parks, "Amber" and "Dhara".
Tehri Lake- Asia's biggest Lake.
Tehri Dam- Tehri Dam is the Highest dam in India and one of the highest in the world.
Tourists could visit and Kanatal anytime throughout the year.
This place has a good climate throughout the year. You could walk through the lush meadows and the famous Kodia Jungle.
You could bring your food and plan a picnic under the warmth of the Sun or hire ponies to climb on the top of the hill.
You could do anything and fill your heart with joy here.
Amazing place and services, refreshing environment and superb nature view. Good hospitality and amazing courtesy. Will go again.


We would like to propose specific changes (detailed below) to the PARD Long Range Plan in support of the population centers that have been zoned along the City's transit corridors.
PARD has done an admirable job of recognizing the need for open space in support of Transit-Oriented Development (TOD). We would like the document to recognize explicitly the existence of places along transit corridors, i.e. areas zoned for Vertical Mixed Use near where the City is likely to place MetroRapid stations or other robust transit centers, and to state that such places need to be supported with open space in the same way and for the same reasons as TOD.
Both Vertical Mixed Use zoning and planning for MetroRapid lines have emerged recently. Most neighborhood plans were completed prior to these planning processes. Other neighborhoods impacted by VMU and MetroRapid do not have neighborhood plans. Input on the need for open space at "VMU districts" was provided in April 2008 as part of the PARD public input process. However, since that time public awareness and support for this issue has increased greatly.
The changes we propose are fully consistent with PARD goals of accessibility and sustainability. To reinforce the goal of sustainability, we propose adding an objective that recognizes the value of parks, plazas and trails to increase use of sustainable forms of transportation – walking, biking and public transit.
Note - a space was placed after the first letter of the last name to baffle internet name searches.
Note – this same language would need to be changed at several other places in the document.


Copper brazing alloy used mainly to join carbide to steel. Offers high strength and economy compared to silver brazing alloys.
A high temperature, high strength copper brazing alloy well suited for carbide to steel applications.


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Posted on March 17, 2020 by Delaware Gazette
Orion and his 'dawgs'
By Tom Burns - Stargazing
You would think I'd know better by now. For 50 springs, I have stood under the starry sky this time of year and looked at the mighty hunter Orion as it slowly sinks to the southwest. What in heaven's name is a winter constellation doing up so high as spring begins to rear its glorious head? But there he is with his two loyal hunting dogs following him across the sky.
That's right. Dogs. Plural. Any self-respecting hunter has at least two huntin' dawgs. As I hiked the trails of West Virginia, I saw bear hunters preceded by entire packs of fearsome pooches. Orion, a manly man of great manliness, is no exception.
Canis Major (the "Greater Dog") stands below and to the left of his master. You can't miss old Major. The three bright stars in Orion's belt point to the left to find the brightest star in the night, Sirius, the Dog Star, which represents the head of the Greater Dog.
Wedged to the right of the dog and below the hunter is Lepus, the Hare. Canis is presumably drawing a bead on the hare as it cowers at the feet of the mighty hunter.
To the right of Orion is another, far-more-formidable example of the Hunter's prey. Look for the V-shaped head of Taurus, the Bull, setting in the west. It's hard to miss Taurus because of his bright bloodshot eye, the orange-red star Aldebaran.
Orion has an emergency backup dog, Canis Minor (the "Lesser Dog"), which is far to his left and far harder to find than other constellations in the group. Its only bright star is Procyon, which means "before the dog" in Greek. The name indicates that, like most small dogs of my acquaintance, Minor is a touch hyperactive. Rising above the horizon just before the Greater Dog, it scoots ahead of Major.
You couldn't ask for more faithful companions. For as long as humans have looked upward, Major and Minor have followed Orion as they chase the Bull again and again across the face of the night.
Canis Major doesn't have to worry about playing second fiddle to Orion. His head, Sirius, outshines all the other stars in the nighttime sky.
Let's find Canis Major and its brightest star. First, find Orion, which is getting low in the southwest just after dark. At the center of Orion is a bright, almost horizontal, line of stars that form his belt. The belt stars point toward the south to a very bright star that will be close to the horizon. You've just found Canis Major's head.
The dog's "ears" are stars found directly to the right and left. The star to the right, Mirzam, is called "The Announcer" because it rises just before Sirius and announces its arrival.
Because Sirius is so bright, it scintillates and twinkles like crazy when it is close to the horizon. Such twinkling is caused by turbulence in Earth's atmosphere. Often Sirius seems to change color and even disappear as the thick layer of the atmosphere near the horizon moves the star's light around and makes it dance.
Sirius is relatively close to our sun as stars go at about nine light-years or approximately 50 trillion miles. To give you an idea of how far away the stars in our galaxy are, even though Sirius is only the fifth closest star to our solar system, it is still over half a million times farther away than our Earth is from the sun. It's a long trip to the neighbors in the vastness of the cosmos.
Sirius is only twice the sun's diameter and mass, yet it shines with over twenty times the sun's brightness.
The ancient Egyptians called Sirius "The Nile Star" because the River Nile flooded about the time that Sirius rose just before dawn at the end of June.
With the subsequent flood came the rich Nile soil, upon which the Egyptians depended for their crops. The Nile flooding meant life to the people of Egypt, and the star heralded their good fortune.
Just below Sirius in the sky is a faint, hazy patch just visible to the naked eye if you aren't observing too close to the streetlights of Columbus. In a set of binoculars, this faint patch resolves into a beautiful, course cluster of about a dozen stars, marked as M41 on most star maps. I've always thought of it as Canis Major's license tag, hanging as it does just below his neck.
Sirius served as a kind of rough weather forecaster for the ancients. During the coldest time of the year, it has always risen at sunset.
During the sweltering heat of late summer, Sirius rises with the sun. The ancients believed that its brilliance added to the sun's heat, producing what we still call the "dog days" of summer. In fact, the name Sirius means "the scorching one."
As a result, the ancient Greeks and Romans feared the daytime rising of Canis Major. It meant for them the drought and possible famine that came with the scorching heat of the late summer. As Virgil writes in the Aeneid, it was believed to be the "burning constellation" that "brings drought and diseases on sickly mortals, rises and saddens the sky with inauspicious light."
No story that I know of explains how Orion got his dogs. In fact, ancient myths associate them with different owners.
Canis Major is sometimes called Laelaps, a dog so fleet of foot that no prey could escape it. In one story, the dog and a javelin were presented to Procris, daughter of the king of Athens and wife of the hunter Cephalus.
The javelin was magical. Its bearer could never miss, which turned out to be bad luck for Procris. She and her husband were hunting one day when Cephalus accidentally ran her through.
Consequently, Cephalus inherited the dog. As Greek heroes often did, they subsequently wandered the Earth in quest of adventures that would somehow assuage their grief.
They ended up a small Grecian town called Thebes, where a nasty fox was raiding the local hen houses.
Cephalus decided to do his good deed for the decade and set the dog loose to catch the fox.
There was one small problem — the fox was so fast that nothing could catch it.
Here we have one of those logical conundrums that the Greeks were so fond of — a dog that could catch any animal and an animal that could never be caught.
Something had to be done, or the logic textbooks would all have to be rewritten. So Zeus, the head honcho on mount Olympus, turned the fox and dog into stone. The dog he placed in the night sky to honor his swiftness. The fox became a lawn decoration, I guess, because no such ancient constellation exists.
The Lesser Dog, meantime, represents Maera, one of Icarus's canine companions. Icarus was the first human to learn to make wine. He got some shepherds drunk, and in gratitude, they killed him on the spot. (If you must drink, please don't drink and herd sheep.) In Lassie-like fashion, Maera ran to get help. He dragged Icarus's daughter Erigone to the scene, where, grief-stricken, they committed suicide.
Just how a dog can take its own life is lost in the inky depths of history. In any case, the gods put the Lesser Dog in the sky to honor its loyalty. We see it to this day, its head up, howling with pain at the loss of its master.
Ah, another inspiring tale of yore. It takes all kinds to make a universe, I suppose.
https://www.delgazette.com/wp-content/uploads/sites/40/2020/03/web1_tom_burns-2.jpg
By Tom Burns
Tom Burns is the former director of the Perkins Observatory in Delaware.
Hi! A visitor to our site felt the following article might be of interest to you: Orion and his 'dawgs'. Here is a link to that story: https://www.delgazette.com/opinion/columns/82575/orion-and-his-dawgs


Ottoman interest in Europe which started in early 18th century was part of a modernization process that continued until the end of the Empire in early 20th century. From the second half of the 18th century onwards, Ottomans showed an increasing interest in European science and technology which were essential in the foundation of modern educational institutions in addition to the medreses, the classical Islamic educational and scientific institutions.
Following Ottoman defeats against European armies, the need arose to modernize the Ottoman military organization and the traditional art of warfare. The efforts to modernize the military started with the introduction of modern teaching of mathematical sciences in the army. A school of mathematics, namely Hendesehâne (lit. Geometry Room) was established in the imperial shipyards in Istanbul in 29th April 1775 under the leadership of the French officer Baron de Tott. This school was officially named the Imperial School of Naval Engineering (Mühendishâne-i Bahrî-i Hümayun) in 1806.
By founding a school of naval engineering, the Ottoman State aimed to teach the navy officers the modern sciences and the new techniques necessary for modernizing the Ottoman navy. The establishment of the school was a cornerstone in the Ottoman educational and scientific life. Athough it carried some influences of the classical Ottoman educational institutions, it differed in regard to its curricula and instruction. Thus, the system employed in the Imperial School of Naval Engineering was a combination of the Ottoman and European systems.
Key words: Ottoman naval engineering, Geometry Room, Ottoman State Shipyards, Ottoman Imperial School of Naval Engineering, Navy School, Ottoman modernization, history of science and education in Turkey, Jean-Jacques Sébastian Le Roy, Jacques Balthasar le Brun; Anahtar kelimeler: Osmanlılarda deniz mühendisliği, Tersâne-i Amire Hendesehânesi, Mühendishâne-i Bahrî-i Hümayun, Bahriye Mektebi, Osmanlılarda yenileşme hareketleri, Türk bilim ve eğitim tarihi, Jean-Jacques Sébastian Le Roy, Jacques Balthasar Le Brun.


Context: Sport concussion is currently the focus of much international attention. Innovative methods to assist athletic trainers in facilitating management after this injury need to be investigated.
Objective: To investigate the feasibility of using a Facebook concussion-management program termed iCon (interactive concussion management) to facilitate the safe return to play (RTP) of young persons after sport concussion.
Setting: Facebook group containing interactive elements, with moderation and support from trained health care professionals.
Patients or Other Participants: Eleven participants (n = 9 men, n = 2 women; range, 18 to 28 years old) completed the study.
Data Collection and Analysis: The study was conducted over a 3-month period, with participant questionnaires administered preintervention and postintervention. The primary focus was on the qualitative experiences of the participants and the effect of iCon on their RTP. Usage data were also collected.
Results: At the completion of the study, all participants (100%) stated that they would recommend an intervention such as iCon to others. Their supporting quotes all indicated that iCon has the potential to improve the management of concussion among this cohort. Most participants (n = 9, 82%) stated they were better informed with regard to their RTP due to participating in iCon.
Conclusions: This interactive adjunct to traditional concussion management was appreciated among this participant group, which indicates the feasibility of a future, larger study of iCon. Athletic trainers should consider the role that multimedia technologies may play in assisting with the management of sport concussion.


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Bravo! Upper division courses (numbered 3000 or above) allow you to move beyond learning the language to studying different aspects of French and Francophone (French-speaking) cultures. Although there are a number of skill-based courses offered-- such as French Translation, French Phonetics, Introduction to Reading & Interpretation, and labs in French Conversation and Writing, you will also learn about French and francophone cinema, music, art, history, literature, French gourmet culture, intercultural communication for business, and other content areas. Additional courses are offered online through the French Consortium-- giving you the opportunity to work with talented faculty from four other CSU campuses. Students pursuing a B.A. in French can choose from one of two tracks: French Language and Cultures (23 units) or French Studies (11 units). The latter is specifically designed for students pursuing a double major in French and another discipline (or a triple major). Those pursuing a major in another discipline may choose a Minor in French (19 units).
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The musical comedy Kiss Me Kate, by the twentieth-century American composer Cole Porter, is based on Shakespeare's comedy The Taming of the Shrew, and features some of the best-loved melodies of the American musical theater. Kiss Me Kate will be performed on the mainstage with orchestra.
Tickets: $25
Performance Dates and Venues
Friday, July 20, Friday and Saturday, July 27–28, 2012, 8 p.m.
Sunday, July 29, 2012, 3 p.m. - Tusten Theater Narrowsburg, NY
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Saturday, July 21, 2012, 8 p.m. - Sullivan West Central HS, Lake Huntington, NY
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Sunday, July 22, 2012, 3 p.m. - Wallenpaupack HS, Hawley, PA
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{tab=About the Musical}
About the Musical
Cole Porter's musical comedy masterpiece, Kiss Me Kate, remains an enduring favorite of the American stage. It is based on William Shakespeare's comedy, The Taming of the Shrew. The original production, starring Alfred Drake and Patricia Morison, opened on Broadway at the New Century Theatre on December 30, 1948, running for 1,077 performances.
Did You Know... Kiss Me Kate won the first-ever Tony Award presented for Best Musical, one of a total of five Tony Awards the musical won in 1948.
{tab=Synopsis}
Synopsis of the Musical
Fred and Lilly are a divorced pair of actors who are about to open a show together, a musical version of Shakespeare's play, The Taming of the Shrew. Is doesn't take long to realize that the couple greatly resemble the characters that they play. Although divorced a year, Lilly throws a jealous fit at finding out that Fred has sent the same flowers that were in her wedding bouquet to Lois Lane, a young ingénue actress, for opening night. The fight results in Lilly quitting the show and making arrangements with her new financé, General Howell, to leave the theater forever and marry him immediately.
Meanwhile, one of the actors, Bill Calhoun, has lost fifty-thousand dollars in a floating crap game and signed an I.O.U. in Fred's name. When the two gangster enforcers come to Fred for payment he turns the situation to his advantage. He confesses and explains that he won't be able to pay the debt because his leading lady, Lilly, is quitting the show and he'll have to give back all the money in the box office. To assure payment, the gangsters agree to "convince" Lilly to remain with the show, and never let her out of their sight until the end of the week, so that the debt can be paid.
Through the antics that follow, it becomes obvious to both Lilly and Fred that they are still very much in love with each other. That realization, and the fact that Fred's debt is forgiven due to a forced change of management in organized crime, bring success to the show and a happy ending to the actors.
{tab=Cast}
Conductor/Musical Director: George Hemcher
Design and Stage Direction: Carol Castel
Assistant Director/Choreographer: Ed Moran
Stage Manager/Technical Director: Michael Celentano
Costume Designer: Nancy Hobbs
Set Painting: Kay Hines
Lilli/Kate: Julie Ziavras (July 20, 22, 28), Lisa Ferraro (July 21, 27, 29)
Fred/Petruchio: Dave Tillistrand (July 20, 22, 28), Julian Whitley (July 21, 27, 29)
Lois/Bianca: Lindsey Grebeldinger (July 20, 22, 28), Jacqueline Rose (July 21, 27, 29)
Bill/Lucentio: John Kaneklides (July 20, 22, 28), Cody Ryan (July 21, 27, 29)
Gremio: George Papadimitriou
Hortensio: Michael Celentano (July 20, 22, 28), Edwin Vargas (July 21, 27, 29)
Pops/Priest: Robert Brocaw
Ralph: Ed Moran
Paul: Cody Ryan (July 20, 22, 28), John Kaneklides (July 21, 27, 29)
First Man: Mark Robinson
Second Man: Scott Silipino
General Howell: Eric Barsness
Hattie: Carol Diefenbach (July 20, 21 & 22), Meredith Hudak (July 27, 28, 29)
The Chorus and Orchestra of the Delaware Valley Opera
Bass Eric Barsness (General Howell) has performed numerous roles with DVO over the past decade, including Don Alfonso in Cosí fan Tutte (2010), Colline in La bohème (2009), Leporello in Don Giovanni (2008), and Don Andres in La Perichole (2007). He has sung the premiere performances of works by David Berhman, Joe Hannan, Frankie Mann and David Tcimpidis at venues including Roulette in New York City and the Delaware Valley Chamber Orchestra's "Music of Our Time" series. He can be heard on David Behrman's My Dear Siegfried (XI Records), appears in Frankie Mann's Island, and plays chef Antonin Carème in Terri Hanlon's recent video Meringue Diplomacy. He lives in Callicoon and in New York City, where he works as Director of Development for Puppies Behind Bars. He has served as President of DVO's Board of Directors since September 2010. return to top
Robert Brocaw (Pops/Priest) is a bass who sings with the Delaware Valley Opera, the Camerata Chorale in Poughkeepsie, the Hudson Opera Theatre, and the SUNY Orange Choir and Madrigal Singers. He is retired from Wall Street, and is a confirmed Wagnerite who dreams of someday singing Wotan. return to top
The career of DVO General Manager and Artistic Director Carol Castel has taken her through the theater world from musical theater to opera; from actress and singer to singing actress; from arts administrator to opera stage director. Her directing career has included over 60 opera productions in the U.S., Canada, and Europe. In addition to a studio of private voice students, Ms. Castel coaches and teaches classes in acting, artistry, and performance practices for the classical singer. She is on the faculty of OperaNUOVA in Edmonton, Canada, and is the founder and General Manager of the New York Opera Studio. For more information about Ms. Castel, visit her web site at www.castelopera.com. return to top
Baritone Michael Celentano (Hortensio) has appeared in performances in the Manhattan area including the Imperial Commissioner in Madama Butterfly with Bleecker Street Opera, Papageno in Die Zauberflöte with New York Opera Studio, and Morales in Carmen with Capitol Heights Lyric Opera. Michael is currently working towards his Masters of Music in Opera Performance with SUNY Binghamton and Tri-Cities Opera and a student of Thomas Goodheart. He would like to thank Carol Castel and the Delaware Valley Opera Company for the opportunity to stage manage, technical direct, and perform. return to top
Mezzo-soprano Carol Diefenbach (Hattie) was in the original Broadway cast and National Tour of Diamond Studs, and has performed various roles in repertory theatre, movies, and television. Twenty-six years ago, she had the privilege to co-found the Delaware Valley Opera, and has performed with the company in over 35 operas, operettas, concerts, and outreach programs. Ms. Diefenbach has been honored by the Women in the Arts, Who's Who of American Women, and the University of American Women, teaches voice in affiliation with the Vocal Arts Foundation in NYC, and continues to actively perform. return to top
Lisa Ferraro (Lilli/Kate) was most recently seen as Cinderella in The True Story of Cinderella at The Franklin Villagers Theatre. Other operetta/opera credits include Yum Yum in The Mikado (Cortland Rep), Margot in The Merry Widow (Rockland Productions), Gretchen in The Student Prince (Ocean City Pops). A graduate of Westminster Choir College, Lisa is also a certified yoga teacher and harmonium player who combines her passions or yoga and singing by leading kirtan, or call and response chanting, as well as workshops on the mystical power of sound and music. return to top
Mezzo-soprano Lindsey Grebeldinger (Lois/Bianca) appears with the DVO this season as Emilia (Otello), Lois Lane (Kiss Me Kate), and Meg Page (Merry Wives of Windsor). and appeared as Olga in last season's production of Eugene Onegin. Other roles include the Witch (Humperdinck's Hansel and Gretel), Ma Moss (Copland's The Tender Land), Maman and The Chinese Cup (Ravel's L'enfant et Les Sortilège), and Juno (Offenbach's Orpheus in the Underworld) with Hartt Opera Theatre, ZaZa in Lehar's The Merry Widow with Delaware Valley Opera, the title role in Bizet's Carmen with Hartt Opera Scenes, and Mrs. Nolan in Menotti's The Medium with Connecticut Concert Opera. She sang for Marilyn Horne in a masterclass sponsored by Connecticut Concert Opera, performed as soloist in Handel's Messiah with the New Haven Symphony, and has appeared as soloist in the Duruflé Requiem, Britten's Rejoice in the Lamb, and the Brahms Alto Rhapsody. She holds a Bachelor of Music from The Hartt School, and is currently a candidate for Master of Music at the College-Conservatory of Music in Cincinnati, where she is a student of Tom Baresel. return to top
George Hemcher (musical director), a native of Malvern, Pennsylvania, is a candidate for the Masters in Music Piano Vocal Accompanying Degree at Manhattan School of Music, where he is a student of Thomas Muraco. Most recently, Hemcher worked on Donizetti's Lucia Di Lammermoor in Thomas Muraco's Opera Repertory Ensemble, where he worked with two other pianists in transcribing a two-piano orchestral reduction of the opera. Hemcher also holds a degree in Music Merchandising from Hofstra University, where he was an active collaborative pianist with Hofstra Opera Theater, and was the pianist for their productions of L'incoronazione di Poppea and Die Fledermaus. In 2011, Mr. Hemcher sang Don Ottavio in Mozart's Don Giovanni with Hofstra Opera Theatre, and in 2010 he sang Dr. Blind in Strauss' Die Fledermaus. Mr. Hemcher studies voice privately with Tammy Hensrud. This season with DVO, Mr. Hemcher will also be Music Director/Conductor for Kiss Me Kate, and will be a rehearsal pianist for Merry Wives of Windsor, in which he will also be singing the role of Slender. return to top
Mezzo-soprano Meredith Hudak (Hattie) saw her first opera at age 12, and after eight years made her European debut standing next to her host family's kitchen table in Florence (in German, natürlich). She has sung Zerlina, Mercédès, and Mallika with the American Symphony Orchestra, and has appeared at the Bard Summerscape Music Festival. Ms. Hudak is grateful to Shakespeare for many things, but especially for giving her the opportunity to say, in all seriousness, "hey, nonny, nonny." return to top
Tenor John Kaneklides (Bill/Lucentio, Paul) has been described as a "richly mellifluous tenor." Most recently he made his debut with Pinehurst Opera Festival, where he performed Rodolfo in La bohème. Other operatic performances include Tamino in Die Zauberflöte with Central Piedmont Opera, and Triquet in Eugene Onegin and Gastone in La Traviata, both with Opera Carolina. As a Young Artist with Opera North, he portrayed Basilio in Mozart's Le nozze di Figaro and covered the role of Ramiro in La Cenerentola. He has also performed as tenor soloist in Mendelssohn's Elijah, Handel's Messiah, and Dubois' The Seven Last Words of Christ. Kaneklides has received several vocal awards, including the Bel Canto Prize from the Orpheus Competition, an encouragement grant from the South Carolina Metropolitan Opera National Council, and was a finalist in the 2011 Nico Castel International Master Singer Competition, where he made his Carnegie Hall debut. He holds degrees in Voice and Business from Winthrop University, where he is currently a Masters of Music candidate. return to top
Baritone Ed Moran (Ralph) is an emerging young artist who is quickly becoming known for his astounding musicianship and character portrayal. He has performed across the West Coast of North America and in Europe. With an extensive and growing repertoire, Mr. Moran has been seen throughout Canada in the roles of Capulet in Gounod's Roméo et Juliette, Conte Almaviva in Le Nozze di Figaro, Sharpless in Madama Butterfly, and most recently as Sam in Leonard Bernstein's Trouble in Tahiti at the Vancouver International Fringe Festival. Praised for his "gusto and panache," Mr. Moran made his American professional debut as Benoit/Alcindoro with Opera San Luis Obispo in their 2010 production of La Bohème. He has also enjoyed introducing over 50,000 children to the world of opera with both Vancouver Opera In Schools and Opera NUOVA Outreach. He holds a Masters Degree in Opera Performance from the UBC School of Music, and a Bachelor's degree in Vocal Performance from the University of Alaska in Anchorage. return to top
A native of Kastoria, a small rural town in northern Greece, bass Georgios Papadimitriou (Gremil) began his musical studies at the age of 5, and has been a choir member of the Greek National Opera and the Hellenic Broadcasting Corporation. He was accepted at the Greek National Opera Studio for the 2009–2010 season, where he covered the roles of Leporello and Don Alfonso. He is pursuing his M.M. in Vocal Performance at the Conservatory of Music at Brooklyn College, where he has performed the roles of Sobakin in The Tsar's Bride and Palemon in Thaïs with Brooklyn College Opera Theatre. return to top
Voice Mark Robinson (First Man) received his BA in Theatre with a concentration in Directing at SUNY Cortland. He has directed over 100 professional, college, and youth theatre productions. His stage roles have included Sheridan Whiteside in The Man Who Came to Dinner, Mr. Applegate in Damn Yankees, and Benedict in Much Ado About Nothing, and directing credits include Amadeus, Pippin, Macbeth, Guys and Dolls, Lend Me a Tenor and The Dining Room. He is currently the Education Programs Manager at Bethel Woods Center for the Arts, where he taught a week-long opera program for kids called the Youth Opera Experience, which was co-sponsored by the Delaware Valley Opera. return to top
Mezzo-soprano Jacqueline Rose (Lois/Bianca) is a graduate of Indiana University of Pennsylvania, where she received a Bachelor of Science in Music Education with a concentration in Voice. Previous performances include the roles of Anna Gomez in Gian Carlo Menotti's The Consul and Valencienne in Lehar's The Merry Widow. Ms. Rose has appeared as soprano soloist in the Fauré Requiem at the 2011 PMEA State Conference, and appeared as a featured soloist under the direction of composer Frank Tichelli. This is her first appearance with the Delaware Valley Opera. return to top
Cody Ryan (Paul, Bill/Lucentio) hails from Middletown, NY and is a graduate of The Hartt School P.T.T.P. at the University of Hartford. Due to a partnership in training, Cody was able to spend his last semester starring in the new musical, Hello Out There, at Goodspeed's New Works Festival, and in Hartford Stage's World Premiere of The Adventures of Tom Sawyer. Other favorite roles include Bobby in the workshop reading of The Devil You Know, where he got to work with producers Stephen Root and Kay Williams, Tommy Walker in The Who's Tommy, and Nanki-Poo in The Mikado. He recently finished touring the world aboard the Silver Spirit with Jean Ann Ryan Productions. return to top
Tenor Scott Silipino (Second Man) is a local musician, singer and copyist/arranger. He returns for his second season with the DVO performing the roles of L'Araldo (Otello), Riley & Second Suitor (Kiss Me Kate), and as a DVO Chorus member. Last season he sang the Captain (Eugene Onegin) and was a member of the chorus. Scott holds a BA in Music from Susquehanna University, where he studied under Judith White and sang the roles of Samuel Paris (Ward's The Crucible), the Mayor (Britten's Albert Herring), M. Gobineau (Menotti's The Medium) and Little Bat (Floyd's Susannah). His past teachers include Dr. David Steinau and Kay S. Hooper, and he is a current student of Eileen Mackintosh. return to top
A singer, actor, and musician, Dave Tillistrand (Fred/Petrucchio) lives in the Bronx with his wife and daughter. Starting his musical life primarily as a saxophonist and bassist, David has made the rounds through instrumental music, musical theatre, theatre, opera, and composing/arranging music. He frequently sings with Regina Opera in New York City. In the theatre, he has performed everything from Shaw to Shakespeare to Guys and Dolls. return to top
Edwin Vargas (Hortensio), baritone from Puerto Rico, will begin work on his master's degree at the City University of New York. He is a graduate of the Conservatory of Music of Puerto Rico, where he performed with the Opera Workshop in the roles of Don Giovanni, Schaunard, Count Almaviva in The Barber of Seville, and Rodrigo in Don Carlo. He has participated in the International Vocal Arts Institute in Chiari, Italy, and in Puerto Rico. Recent engagements include Sharpless in Madame Butterfly at Nevada Opera, and Marullo in Rigoletto at Capitol Opera of Harrisburg. return to top
Baritone Julian Whitley (Fred/Petrucchio) has been hailed for his "colorful characterization and clarion singing" in Lee Hoiby's The Tempest (Opera News). Mr. Whitley received his masters degree from the University of Binghamton in conjunction with Tri-Cities Opera and received his bachelors degree at the Purchase Conservatory of Music. He made his debut at the renowned Berkshire Theatre Festival, where he sang over fifty performances of the title role in Bernstein's Candide. Mr. Whitley sang on the premiere recording of composer Lee Hoiby's opera, The Tempest, released on Albany Records. return to top
Soprano Julie Ziavras (Lilli/Kate) performs a diverse repertory of opera, art song, contemporary and international music. Her operatic roles include Donna Anna, Mimi, Rosalinda, and the Countess. In addition to her many appearances with the DVO, she has appeared at Carnegie's Weill Recital Hall and Lincoln Center's Bruno Walter Hall, and as soloist with the Greater Newburgh Symphony and the Manhattan Camerata Orchestra. return to top
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The Shoe Horn Sonata Essay
Language helps us share other people's experiences. Explain how this is achieved in The Shoehorn Sonata and at least two other texts. Language helps us share other people's experience. In the play the Shoe Horn Sonata by John Misto, the use of symbolism, stage directions and dialogue enables the audience to feel empathy for the character as does the language used in the film Apocolyto and in the painting "He Ain't Heavy, He's My Brother" by Holly Wong. The Shoe Horn Sonata makes references to actual historical events and places.
With the incorporation of many literary devices used in dialogue and language techniques working together, the play creates a sense of realism. This allows the audience to feel empathy and engagement with the characters and situations. Engaging the audience is a distinctive feature that permits the interaction of the themes of heroism, sacrifice and friendship, as well as survival and resilience. Heroism is a key theme in the play, and is evident from the first time that Bridie and Sheila meet each other.
When Sheila begins to "nod off" Bridie hits her with her shoe-horn to stop her from drowning. While Bridie recalls it as a "tap-tap-tap" Sheila uses a hyperbolized onomatopoeia and recalls it as more of a "whack-whack-whack". This shows the diverse characteristic of each protagonist but displays the friendship to keep the other alive. Sacrifice is demonstrated through Sheila's act of offering up her virginity to a Japanese soldier, Lipstick Larry, to obtain quinine to save Bridie's life.
Even though Sheila is traumatized by her own act for over fifty years, she manages to reveal the truth to Bridie, which in itself is a huge difficulty, but still very definitively she retorts that "I'd do it all again, if I had to. " This shows that even after all the physical and psychological hardships encountered during the war, Sheila is still willing to make heroic sacrifices for Bridie. This use of language helps the audience to experience empathy for Sheila who sacrificed the only thing that was a sacred asset to her.
When Bridie repeats her moral position of Sheila actions, her dialogue uses a disgusted tone. "Sleeping with a Jap? I'd never have done that" The rift in the friendship, shown by the isolated spotlights for each character in the stage directions, makes the audience realize that the language used between the characters is very defensive and aggravated. However even though a rift forms, humor is revealed in both the characters to act as a mask to hide their true fears and thoughts. While Bridie and Sheila reveal pieces of their past they laugh and tell jokes about incident at the camp.
Like when the Australian government sent a message to the women to "keep smiling", irony was used in this enigmatic expression, because the women were placed under such horrendous prison conditions. This emphasizes to the audience the government's lack of sympathy in assisting the women. Another example was when Bridie "stitched a rusty pin into Lipstick Larry's loin-cloth. " The audience feels a sense of brief glimpses of happiness as they digest the anguish that must have been felt by the women at the time. Survival and resilience is displayed through the language as well.
An example of this was when the women in the POW camp formed a vocal orchestra. The music of "Bolero" sung by the choir allows the audience to realise the unity of "Fifty voices and a shoe-horn" as they refuse to be defeated by the patriarchy of the Japanese. But as hopeful as they were, years down the track incidents occurred that made those women feel like, "I'd never really left…" Sheila is metaphorically dwelling in the past, and may be suffering from post traumatic stress due to the incidents that she encountered. The language used between the two sets is also different.
The interview for Rick's show is formal and polite as if the characters are trying to hide their true selves. However back in the motel room a different persona exists. The use of colloquialism between Sheila and Bridie is shown in the dialogue and use of the term "Japs" or "Nips" shows the little respect that remains towards any Japanese people. The Shoe horn Sonata portrays how language helps the audience share other people's experiences. In a similar way, the film Apocolypto directed by Mel Gibson depicts the journey of a tribesman who must escape human sacrifice nd rescue his family after the capture and destruction of his village. The themes of atrocities and also survival and resilience are explored in a very visual manner throughout the film. The use of subtitles accompanying the dialogue sets the scene for an ancient civilization using a selective dialect. Atrocities are shown from the start of the film, which begins with a quotation from Will Durant: "A great civilization is not conquered from without until it has destroyed itself from within". The use of this extended metaphor emphasizes that together they were a great society.
Strong and powerful as a whole, but slowly power and control is divided to certain segments of the community forcing a collapse in the empire. So rather than blaming the external factors of food hunting and divided groups, it is really the internal factors of individuals competing for control that forces a civilized society to crumble from within. "I saw a hole in the Man, deep like a hunger he will never fill. ' It is what makes him sad and what makes him want. He will go on taking and taking, until one day the World will say, 'I am no more and I have nothing left to give. '"
The fortitude and denominating power behind the statement "I am Flint Sky. I have hunted this forest from the day I came of age. My father hunted this forest with me, and before me. Jaguar Paw, my son. He hunts this forest with me. He will hunt it with his son, after I am gone. " Shows that for generations the cycle of life will continue and no matter what comes in the way, son after son will hunt the forests with pride. The language used creates an empathic response to the audience, as they are about to read what is being said while watching the determined expression and defiant and powerful stance of the tribe leader as he says this.
Survival and resilience is shown in the way that Jaguar Paw was able to rebound back after watching his friends and family die, his home being burnt to the ground and having to leave his pregnant wife and child in a hole in the ground while he was brutily taken away to be sacrificed. In the end all he wants for his family is, "Our lands were ravaged. We seek a new beginning. " A new start to forget the torments of life. The audience understands from this that, what happened in the past, stays in the past and Jaguar Paw is moving on from it, like many others should do in situations of hardship and turmoil.
The third related text is 'He Ain't Heavy, He's my Brother'. If this painting were to be turned into language the probable expectations for the painting would be the themes of survival and resilience, and friendship. This painting depicts an older brother carrying his dead younger brother away in war-torn Iraq. This particular painting depicts the suffering of people but also the incredible tenderness and love that is felt between these two individuals. Since love is universal, the viewer is about to feel an emotional response or empathy towards the feelings of tenderness and relate to the loss that the older brother feels.
In addition, it portrays the chaos of the environment through the swirling energy of the marks and the older brother's determination to carry his younger family member to safety. Overall, the play 'The Shoe-horn Sonata', the film Apocolyto and the painting "He Ain't Heavy, He's My Brother" shows how language helps us share other people's experiences. Though examining the dialogue, the stage directions, and the imagery used that forms language this was achieved.
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Speechly: Join the language translation revolution
|In Blogs
|By Olivia OSullivan
For thousands of years, there has only been one way for governments, businesses, individuals and international organisations to communicate when they don't share a language: hiring interpreters.
But what if that were to change?
Launching today, Speechly is an artificial intelligence (AI) powered, real-time translation tool. Designed for any organisation which needs to communicate with people who cannot speak the same language, it aims to revolutionise language translation.
Why is this new approach needed, and how does Speechly work?
The problem with translation today
In our ever more connected world, demand for interpreters is at an all time high. Professional interpreters provide invaluable services which solve problems for individuals, businesses and governments.
However, while in many situations interpreters could never be replaced by technology, our dependence on them has serious flaws:
Interpreter fees are high – and rising
Standard interpretation fees can be very high indeed. For instance, the UK government's border force pays £48/hour for freelance interpreters Monday-Friday, and as much £72/hour on Sundays. Meanwhile the British police spend some £450,000 on interpreters to help interview foreign crime suspects every week.
Interpreting is slow
Sourcing professional interpreters can be time consuming – especially for less common languages where the only available freelancers are often 'booked up' for weeks in advance. Even when an interpreter can be found at short notice, they will still have to travel to the site where they are needed – and delays can be critical in more time-sensitive situations.
Interpreting resources are often wasted in low-value tasks
All too often, interpreters are called in to translate fairly mundane or unimportant discussions. Does it really make sense, for instance, to spend time and money on interpreters to resolve minor visa issues, or to establish that someone wasn't even a witness to a crime?
Speechly was designed by language experts and technology specialists to overcome these common problems and revolutionise our approach to interpretation.
What is Speechly?
Speechly is a cloud-based application that enables real-time translation between 26 languages. It is configured to work with Jabra devices (a manufacturer of headsets and conference call speakers) and allows one-to-one conversations between two individuals wearing headsets or talking into a speaker in the same room.
The tool works by using Microsoft's Natural Language Processing (NLP) services, a kind of artificial intelligence. Speechly recognises the language used by the different speakers involved in a conversation and then simultaneously translates between the languages.
The first person speaks in their language and this is relayed moments later into the second person's tongue. The second person then responds in their own language and the first speaker will hear the answer in their language. Speechly can also record the conversation and provide a transcript.
Speechly requires an internet connection to work and, once set up, allows anyone to communicate between the 26 global languages supported. In many cases, this avoids the need to bring in expensive interpreters.
And it can be used by almost anyone who needs to do in-person communication with foreign language speakers. From border forces to emergency services, healthcare workers to NGO staff, businesses to conference planners, academic researchers to journalists, Speechly provides fast, effective and accurate interpretation.
Speechly can currently translate between any of the following 26 languages: Arabic, Cantonese, Catalan, Chinese Simplified, Chinese Traditional, Danish, Dutch, English, Finnish, French, German, Hindi, Italian, Japanese, Korean, Norwegian, Polish, Portuguese (Brazil), Portuguese (Portugal), Russian, Spanish, Swedish, Tamil, Telugu, Thai, Turkish.
Speechly in action
So how would Speechly work at your organisation? The following three stories show how different types of organisation could use Speechly – and show why it is often preferable to using an interpreter.
Chen and the border guard
Chen is a Mandarin speaker who has just arrived at a UK airport as part of a cultural exchange. Unfortunately, a mix-up at the embassy means he has travelled on a student visa, which isn't quite correct. Fortunately, a minor administrative procedure would resolve the issue, yet Chen cannot speak English and so the border guard cannot explain what he needs to do.
In the past, the border force would have called up an interpreter to resolve the situation – costing at least £48 – a high fee to resolve a minor issue.
Fortunately, the team is using Speechly. The border guard hands Chen a Jabra headset and explains what needs to be done in English. Chen hears the instruction in Mandarin and minutes later has completed the procedure and is walking out of the airport, pleased and impressed by the service received.
Elena and the nurse
Elena is a Colombian tourist who is on her dream walking holiday in rural Japan. Unfortunately, she seems to have picked up a nasty skin condition but cannot work out how to treat it. She heads to a local clinic where she shows the nurse what's wrong, yet cannot answer any questions.
In the past, the nurse would have had to call in a Spanish interpreter to discuss the problem. However, there are relatively few Spanish interpreters working on the island of Shikoku, so Elena would have to return to the clinic two days later when the first interpreter finally became available.
Fortunately, the health clinic has invested in Speechly. The nurse can now ask Elena about her medical history, find out where she's been so far on her hike, and prescribe an ointment. In a few minutes the issue is resolved and Elena can get back to enjoying her once-in-a-lifetime trip.
Hasan at the conference
Hasan is an influential Turkish agricultural economist who has been invited to speak at a rural development conference in southern India. Hasan can get by in English, which is a language he shares with many of his hosts. However, many of the local delegates – and indeed those most desperate to discuss the implications of his work – only speak Tamil.
In the past, it would have been hard to facilitate these discussions. Tamil speakers would have found it difficult to ask Hasan their questions, and informal conversations on the conference side-lines would have been near-impossible.
However, the university which organised the conference had chosen to use Speechly. Now, Hasan literally walks around the conference hall wearing a Jabra headset and can speak to everyone in his native Turkish – whether those individuals speak Hindi, Tamil, Telugu or English.
Join the Speechly revolution
Speechly is revolutionising how individuals, businesses, the public sector and international organisations communicate. If you are ready to drastically reduce your interpretation costs, provide a more responsive service and delight your customers, start using Speechly today.
Olivia OSullivan
Olivia O'Sullivan is the Head of Marketing at FITTS. She has a proven track record of helping B2B technology brands build a strong presence across a number of platforms.
Before joining FITTS in March 2020, she led pioneering marketing efforts to launch a first of its kind, SaaS solution built from complex machine learning algorithms designed to allow any company, from any industry, to train complete Distributed Learning and Machine Learning models, directly on their own edge devices.
Follow Olivia along on Twitter for her latest insights on winning at B2B Marketing in technology.
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